name | Alternative rock |
---|---|
color | white |
bgcolor | crimson |
stylistic origins | Punk rock, post-punk, hardcore punk, new wave |
cultural origins | Late 1970s, Early 1980s, United Kingdom and United States |
instruments | Electric guitar – bass guitar – drums – keyboards |
popularity | Limited before the success of grunge and Britpop in the 1990s. Widespread since then. |
subgenres | Britpop – College rock – Dream pop – Grunge – Post-grunge – Indie pop – Indie rock – Math rock – Noise pop – Noise rock – Paisley Underground – Post-Britpop – Jangle pop – Post-rock – Shoegazing |
fusiongenres | Alternative dance – Alternative metal – Psychobilly – Industrial rock – Madchester – Post-punk revival – Riot Grrrl |
regional scenes | Athens, Georgia – Illinois – Manchester, England – Massachusetts – Seattle, Washington, Los Angeles |
other topics | Bands – College radio – History – Independent music – Lollapalooza }} |
Alternative rock (also called alternative music, alt rock or simply alternative) is a genre of rock music that emerged in the 1980s and became popular in the 1990s. Alternative rock consists of various subgenres that have emerged from the independent music scene since the 1980s, such as grunge, Britpop, gothic rock, indie pop, and indie rock. These genres are unified by their collective debt to the style or ethos of punk rock, which laid the groundwork for alternative music in the 1970s. At times, alternative rock has been used as a catch-all phrase for rock music from underground artists and all music descended from punk rock (including punk itself, New Wave, and post-punk).
Some examples of alternative rock bands that have achieved commercial success and mainstream critical recognition are Red Hot Chili Peppers, R.E.M., Coldplay, The Smiths, The Cure, Jane's Addiction, Nirvana, Foo Fighters, The Smashing Pumpkins, Green Day, Oasis, Weezer, Radiohead, The White Stripes, and Muse. However, many alternative rock artists are cult acts that have recorded with independent labels and have received the majority of their exposure through college radio airplay and word-of-mouth.
The use of the term ''alternative'' to describe rock music originated around the mid-1980s; at the time, the common music industry terms for cutting-edge music were ''new music'' and ''post modern'', respectively indicating freshness and a tendency to recontextualize sounds of the past. Individuals who worked as DJs and promoters during the 1980s claim the term originates from American FM radio of the 1970s, which served as a progressive alternative to top 40 rock music radio formats by featuring longer songs and giving DJs more freedom in song selection. According to one former DJ and promoter, "Somehow this term 'alternative' got rediscovered and heisted by college radio people during the 80s who applied it to new post-punk, indie, or underground-whatever music". At first the term referred to intentionally non–mainstream rock acts that were not influenced by "heavy metal ballads, rarefied new wave" and "high-energy dance anthems". Usage of the term would broaden to include New Wave, pop, punk rock, post-punk, and occasionally "college"/"indie" rock, all found on the American "commercial alternative" radio stations of the time such as Los Angeles' KROQ-FM. The use of ''alternative'' gained further exposure due to the success of Lollapalooza, for which festival founder and Jane's Addiction frontman Perry Farrell coined the term ''Alternative Nation''. In the late 1990s, the definition again became more specific. In 1997, Neil Strauss of ''The New York Times'' defined alternative rock as "hard-edged rock distinguished by brittle, '70s-inspired guitar riffing and singers agonizing over their problems until they take on epic proportions".
Defining music as alternative is often difficult because of two conflicting applications of the word. ''Alternative'' can describe music that challenges the status quo and that is "fiercely iconoclastic, anticommercial, and antimainstream", but the term is also used in the music industry to denote "the choices available to consumers via record stores, radio, cable television, and the Internet." Using a broad definition of the genre, Dave Thompson in his book ''Alternative Rock'' cites the formation of the Sex Pistols as well as the release of the albums ''Horses'' by Patti Smith and ''Metal Machine Music'' by Lou Reed as three key events that gave birth to alternative rock.
By 1984, a majority of groups signed to independent record labels were mining from a variety of rock and particularly 1960s rock influences. This represented a sharp break from the futuristic, hyper rational post-punk years.
Throughout the 1980s, alternative rock was mainly an underground phenomenon. While on occasion a song would become a commercial hit or albums would receive critical praise in mainstream publications like ''Rolling Stone'', alternative rock in the 1980s was primarily relegated to independent record labels, fanzines, and college radio stations. Alternative bands built underground followings by touring constantly and regularly releasing low-budget albums. In the case of the United States, new bands would form in the wake of previous bands, which created an extensive underground circuit in America, filled with different scenes in various parts of the country. Although American alternative artists of the 1980s never generated spectacular album sales, they exerted a considerable influence on later alternative musicians and laid the groundwork for their success. By 1989 the genre had become popular enough that a package tour featuring New Order, Public Image Limited and The Sugarcubes toured the United States arena circuit.
In contrast, British alternative rock was distinguished from that of the United States early on by a more pop-oriented focus (marked by an equal emphasis on albums and singles, as well as greater openness to incorporating elements of dance and club culture) and a lyrical emphasis on specifically British concerns. As a result, few British alternative bands have achieved commercial success in the US. Since the 1980s alternative rock has been played extensively on the radio in the UK, particularly by disc jockeys such as John Peel (who championed alternative music on BBC Radio 1), Richard Skinner, and Annie Nightingale. Artists that had cult followings in the United States received greater exposure through British national radio and the weekly music press, and many alternative bands had chart success there.
American indie record labels SST Records, Twin/Tone Records, Touch and Go Records, and Dischord Records presided over the shift from the hardcore punk that then dominated the American underground scene to the more diverse styles of alternative rock that were emerging. Minneapolis bands Hüsker Dü and The Replacements were indicative of this shift. Both started out as punk rock bands, but soon diversified their sounds and became more melodic. Michael Azerrad asserted that Hüsker Dü was the key link between hardcore punk and the more melodic, diverse music of college rock that emerged. Azerrad wrote, "Hüsker Dü played a huge role in convincing the underground that melody and punk rock weren't antithetical." The band also set an example by being the first group from the American indie scene to sign to a major record label, which helped establish college rock as "a viable commercial enterprise." By focusing on heartfelt songwriting and wordplay instead of political concerns, The Replacements upended a number of underground scene conventions; Azerrad noted that "along with R.E.M. [The Replacements] were one of the few underground bands that mainstream people liked".
By the late 1980s, the American alternative scene was dominated by styles ranging from quirky alternative pop (They Might Be Giants and Camper Van Beethoven), to noise rock (Sonic Youth, Big Black) and industrial rock (Ministry, Nine Inch Nails). These sounds were in turn followed by the advent of Boston's the Pixies and Los Angeles' Jane's Addiction. Around the same time, the grunge subgenre emerged in Seattle, Washington. Grunge was based around a sludgy, murky guitar sound that synthesized heavy metal and punk rock. Largely based around the Seattle indie label Sub Pop, grunge bands were noted for their thrift store fashion which favored flannel shirts and combat boots suited to the local weather. Early grunge bands Soundgarden and Mudhoney found critical acclaim in the U.S. and UK, respectively.
By the end of the decade, a number of alternative bands began to sign to major labels. While early major label signings Hüsker Dü and The Replacements had little success, acts who signed with majors in their wake such as R.E.M. and Jane's Addiction achieved gold and platinum records, setting the stage for alternative's later breakthrough. Some bands such as the Pixies had massive success overseas while they were ignored domestically.
One of the key alternative rock bands to emerge during the 1980s was Manchester's The Smiths. Music journalist Simon Reynolds singled out The Smiths and their American contemporaries R.E.M. as "the two most important alt-rock bands of the day", commenting that they "were eighties bands only in the sense of being ''against'' the eighties". Reynolds noted that The Smiths' "whole stance was predicated on their British audience being a lost generation, exiles in their own land". The Smiths' embrace of the guitar in an era of synthesizer-dominated music is viewed as signaling the end of the New Wave era and the advent of alternative rock in Britain. Despite the band's limited chart success and short career, The Smiths exerted an influence over the British indie scene through the end of the decade, as various bands drew from singer Morrissey's English-centered lyrical topics and guitarist Johnny Marr's jangly guitar-playing style. The ''C86'' cassette, a 1986 ''NME'' premium featuring such bands as The Wedding Present, Primal Scream, The Pastels, and the Soup Dragons, was a major influence on the development of indie pop and the British indie scene as a whole.
Other forms of alternative rock developed in the UK during the 1980s. The Jesus and Mary Chain's sound combined the Velvet Underground's "melancholy noise" with Beach Boys pop melodies and Phil Spector's "Wall of Sound" production while New Order emerged from the demise of post-punk band Joy Division and experimented with techno and house music. The Mary Chain, along with Dinosaur Jr, C86 and the dream pop of Cocteau Twins, were the formative influences for the shoegazing movement of the late 1980s. Named for the band members' tendency to stare at their feet and guitar effects pedals onstage rather than interact with the audience, shoegazing acts like My Bloody Valentine, Slowdive, Ride, and Lush created an overwhelmingly loud "wash of sound" that obscured vocals and melodies with long, droning riffs, distortion, and feedback. Shoegazing bands dominated the British music press at the end of the decade along with the drug-fueled Madchester scene. Based around The Haçienda, a nightclub in Manchester owned by New Order and Factory Records, Madchester bands such as Happy Mondays and The Stone Roses mixed acid house dance rhythms with melodic guitar pop.
By the start of the 1990s, the music industry was enticed by alternative rock's commercial possibilities and major labels actively courted bands including Jane's Addiction, Dinosaur Jr, Faith No More, Firehose, and Nirvana. In particular, R.E.M.'s success had become a blueprint for many alternative bands in the late 1980s and 1990s to follow; the group had outlasted many of its contemporaries and by the 1990s had become one of the most popular bands in the world.
The breakthrough success of the band Nirvana led to the widespread popularization of alternative rock in the 1990s. The release of the band's single "Smells Like Teen Spirit" from its second album ''Nevermind'' (1991) "marked the instigation of the grunge music phenomenon". Due to constant airplay of the song's music video on MTV, ''Nevermind'' was selling 400,000 copies a week by Christmas 1991. The success of ''Nevermind'' surprised the music industry. ''Nevermind'' not only popularized grunge, but also established "the cultural and commercial viability of alternative rock in general." Michael Azerrad asserted that ''Nevermind'' symbolized "a sea-change in rock music" in which the glam metal that had dominated rock music at that time fell out of favor in the face of music that was authentic and culturally relevant.
Nirvana's surprise success with ''Nevermind'' heralded a "new openness to alternative rock" among commercial radio stations, opening doors for heavier alternative bands in particular. In the wake of ''Nevermind'', alternative rock "found itself dragged-kicking and screaming ... into the mainstream" and record companies, confused by the genre's success yet eager to capitalize on it, scrambled to sign bands. ''The New York Times'' declared in 1993, "Alternative rock doesn't seem so alternative anymore. Every major label has a handful of guitar-driven bands in shapeless shirts and threadbare jeans, bands with bad posture and good riffs who cultivate the oblique and the evasive, who conceal catchy tunes with noise and hide craftsmanship behind nonchalance." However, many alternative rock artists rejected success, for it conflicted with the rebellious, DIY ethic the genre had espoused before mainstream exposure and their ideas of artistic authenticity.
At the same time, critics asserted that advertising was co-opting elements of grunge and turning it into a fad. ''Entertainment Weekly'' commented in a 1993 article, "There hasn't been this kind of exploitation of a subculture since the media discovered hippies in the '60s." ''The New York Times'' compared the "grunging of America" to the mass-marketing of punk rock, disco, and hip hop in previous years. As a result of the genre's popularity, a backlash against grunge developed in Seattle. Nirvana's follow-up album ''In Utero'' (1993) was an intentionally abrasive album that Nirvana bassist Krist Novoselic described as a "wild aggressive sound, a true alternative record." Nevertheless, upon its release in September 1993 ''In Utero'' topped the ''Billboard'' charts. Pearl Jam also continued to perform well commercially with its second album, ''Vs.'' (1993), which topped the ''Billboard'' charts by selling a record 950,378 copies in its first week of release.
During the latter half of the 1990s, grunge was supplanted by post-grunge. Post-grunge bands such as Candlebox and Bush emerged soon after grunge's breakthrough. These artists lacked the underground roots of grunge and were largely influenced by what grunge had become, namely "a wildly popular form of inward-looking, serious-minded hard rock." Post-grunge was a more commercially viable genre that tempered the distorted guitars of grunge with polished, radio-ready production.
Post-rock was established by Talk Talk's ''Laughing Stock'' and Slint's ''Spiderland'' albums, both released in 1991. Post-rock draws influence from a number of genres, including Krautrock, progressive rock, and jazz. The genre subverts or rejects rock conventions, and often incorporates electronic music. While the name of the genre was coined by music journalist Simon Reynolds in 1994, the sound of the genre was solidified by the release of ''Millions Now Living Will Never Die'' (1996) by the Chicago group Tortoise. Post-rock became the dominant form of experimental rock music in the 1990s and bands from the genre centered around the Thrill Jockey, Kranky, Drag City, and Too Pure record labels. A related genre, math rock, peaked in the mid-1990s. In comparison to post-rock, math rock is more "rockist" and relies on complex time signatures and intertwining phrases. While by the end of the decade a backlash had emerged against post-rock due to its "dispassionate intellectuality" and its perceived increasing predictability, a new wave of post-rock bands such as Godspeed You! Black Emperor and Sigur Rós emerged who further expanded the genre.
After almost a decade in the underground, ska acts became popular in the United States in 1996 with Mighty Mighty Bosstones, No Doubt, Goldfinger, Reel Big Fish, Less Than Jake and Save Ferris charting or getting radio exposure.
Despite alternative rock's declining popularity, some artists retained mainstream relevance. Post-grunge remained commercially viable into the start of the 21st century, when bands like Creed and Matchbox Twenty became among the most popular rock bands in the United States. At the same time Britpop began to decline, Radiohead achieved critical acclaim with its third album ''OK Computer'' (1997), and its follow-ups ''Kid A'' (2000) and ''Amnesiac'' (2001), which were a marked contrast with the traditionalism of Britpop. Radiohead, along with post-Britpop groups like Travis and Coldplay, were major forces in British rock in the subsequent years.
During the late 1990s and early 2000s, several alternative rock bands emerged, including The Strokes, Franz Ferdinand, Interpol, and The Rapture that drew primary inspiration from post-punk and New Wave, establishing the post-punk revival movement. Preceded by the success of The Strokes and The White Stripes earlier in the decade, an influx of new alternative rock bands, including several post-punk revival artists and others such as Modest Mouse, The Killers, and Yeah Yeah Yeahs, found commercial success in the early 2000s. Due to the success of these bands, ''Entertainment Weekly'' declared in 2004, "After almost a decade of domination by rap-rock and nu-metal bands, mainstream alt-rock is finally good again."
Category:Rock music genres Category:20th-century music genres Category:21st-century music genres
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Brad Turcotte (born 14 November 1976), performing under the name Brad Sucks, is a musician from Ottawa, Ontario. Turcotte releases his songs under a copyleft license. Promoting his music through sites such as Magnatune and ccMixter, as well as MySpace and Podsafe, he has used micropatronage to profit from his work without restricting the freedom to share and modify it.
Turcotte received free publicity through blogs and interviews in free culture magazines. His first full CD, ''I Don't Know What I'm Doing'', was released both through Magnatune and a limited "professional" printing from his own website.
Turcotte's most recent album, released on 8 September 2008, is called ''Out of It''.
''I Don't Know What I'm Doing'' was released independently and without charge online on the 19th of December 2003 in mp3 form. It was also released in CD form on the 7th of June 2005 through both Magnatune and a limited "professional" printing from his own website with an extended version of the final track.
Turcotte's second album, ''Out of It'', was released on 8 September 2008.
Category:1976 births Category:Living people Category:Magnatune artists Category:Canadian indie pop musicians Category:Musicians from Ottawa Category:Franco-Ontarian people Category:Canadian multi-instrumentalists
da:Brad Sucks de:Brad Sucks es:Brad Sucks fr:Brad Sucks it:Brad Sucks fi:Brad Sucks sv:Brad SucksThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
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